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There have been vigorous debates about the condition and prospects of auteur cinema in France over the last decade, debates that seem mostly to have gone unreported in anglophone criticism of francophone cinema. But these have been paralleled by a revival of international debate about the status of the auteur: in their extended chapter on auteur cinema added to the second edition of Cook's
both. However, before seeking to explore this idea of what one might call ‘catastrophe cinema’ in more detail, an account of the development of Assayas’ career is necessary, not least because so many of his formative influences remain crucial to an understanding of his cinematic output. It is well known that Assayas wrote extensively for Cahiers du cinéma in the late 1970s and early 1980s before moving on to